Synopsis:Anand (Sivaji), a rich playboy, meets a Latha (Vanisri), a good-natured airhostess looking for a job. He takes her to Azhagapuri, his estate, as his personal secretary, starts mending his ways and even falls in love with her. When his brother Vijayakumar (Balaji) and his status-conscious mother (Santhakumari) come to know of this, they decide to nip this romance in the bud.

Movie Review: Whenever someone talks about the greatness of Vasantha Maligai (or many of our older films for that matter), the immediate reaction from a segment of audience who are not of that period would be to casually dismiss this claim as nostalgia and label the film as over-the-top melodrama. After all, how can one expect subtlety in a film whose very mention immediately brings to mind the exaggerated visual of Sivaji Ganesan coughing blood and singing Yarukkaga Idhu Yarukkaga... ?

To be frank, the opening 20 minutes are as choppy a ride as that experienced by the characters in the introductory scene. We are driven home the point that the hero Anand is a drunkard and a playboy not once but twice through two different songs ( O Maanida Jaathiye... and Oru Kinnathai Yendhugiren... ). And by the time the other item number, Kudimagane... , appears, a few minutes later, you begin to wonder if it is these memorable songs that are still stoking the memories of the film.

But forget K V Mahadevan's songs, forget Krishnarao's dazzling sets and forget the leading man. This film still holds up so well — 40 years after its release — because of the writing and characterization. Yes, for a film that is dismissed as melodramatic romance, the writing (Balamurugan) is quite nuanced. When Anand protests the ill treatment of the peasants in his estate, we initially think of it as needless build-up for a hero whom we have so far only seen drinking and cavorting with women. But, later, when you come to know the reason behind Anand turning a drunkard, you realize that the boy has inherited his moral values from his poor foster mother.

Similarly, some of the key characters are painted in subtle shades of grey without calling attention to the fact. Anand might be good at heart but he also loves the booze and the babes. Latha, who is the film's moral centre, too is shown as a person who has a holier-than-thou attitude and she refuses to forgive Anand for suspecting her till the very last moments. Even Panchavarnam, the film's designated comedian, isn't a jester. He is partly responsible for Anand's addiction and when Anand turns over a new leaf, he is quick to jump sides and serve Vijay. Then, there is the film's most complex character, the Maharani aka Anand's mom. When we are first introduced to her, we see her being curt with her younger son and even going along with Vijay's plan to deprive Anand of his rightful share. In the flashback, we are given a hint that she could have even committed murder! Still, when Anand shows signs of change, she softens up not just towards him but also towards the woman instrumental for his change and we too warm up towards her. But we are forced to revise our opinion when she once again plots with Vijay to break Anand and Latha apart. And, as we near the climax, her character changes traits once again. The real success lies in how Rao makes these transitions feel as organic evolution that keeps pace with the story's twists and turns.

Tip-off: The next time your neighbourhood mama says 'they don't make them as like that anymore', do not ignore. Maybe he's right. Along with last year's Karnan , Vasantha Maligai is further proof that old is indeed gold.

Recent Messages ()

Please Rate this movie before posting your Review

OR PROCEED WITHOUT REGISTRATION

Share on FacebookShare on Twitter

SIGN IN WITH

FacebookGoogleEmail

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive. Let's work together to keep the conversation civil.